What Worlds Make Stories

+ Three-screen video installation

What Worlds Make Stories aims to disentangle the hidden violence within our human mythologies by looking at the changing myth of the unicorn from monster to commodity. The dialogue between the two monsters touches upon elements of pop culture, art history, and the different forms of knowledge that are prevalent within Western discourse at this moment. The script invites us to explore the parallels between the domestication of the unicorn, as depicted on the famous unicorn tapestries, and our relationship with the planet.

Soil Dogs

+ Ceramics
+ VLF and Seismic recordings
+ Geophone

The installation “Soil Dogs” explores the relationship between canines and seismic activity. Through a combination of ceramics, geo-acoustic and electromagnetic recordings, Soil Dogs connects the assumed earthquake warning signs to the local soil of Taiwan. A soil that has been shaped and is constantly reshaped by the seismic fluctuation of the island situated on the fault line between the Eurasian and Philippine Sea plates.


High Voltage Waggle Dance

+ Glass pods
+ VLF recordings
+ Boat chains

High Voltage Waggle Dance uses VLF-recordings to cultivate a patient, sensory attentiveness to the visible and invisible energy-ecosystems within the atmosphere, the earth, and the more-than-human actors inhabiting it. The piece includes the crackling and whistling of lightning bolts, time-stretched signals of bees interacting with the receiver’s antenna, and recordings of electro-communication within the hives tended by the Slovenian beekeepers.



+ Organ pipes
+ Sensors
+ Drone motors

The Waddenorgel, or Organ of the Wadden Sea, is a sound installation consisting of sixteen organ pipes that react to the gape width and heartbeat of a single mussel lying in the Wadden Sea. Created in collaboration with the Waddenacademie and the Oerol festival, the Waddenorgel offers new practices of listening in order to get a deeper understanding of the mussel as a vital part of the oceans’ ecosystem. 


Distance as Object

+ Postcard
+ Envelopes
+ Global postal service

Starting of as an experiment in interpersonal communication across the 52nd parallell, Distance as Object encountered opposition at the Polish border when the unlawful invasion of Ukraine by Russia resulted in a halt of all postal communications towards Russia. The postcard, traveling along the same latitutde line from Utrecht to Berlin, Warsaw, Atka, Saskatoon, and Limerick, hence had to skip its port in Irkutsk. The absence of the Russian stamp is a stark indicator of the postcard’s proximity to war.